Relevant bibliographies by topics / Songs, mexican

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Songs, mexican'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Songs, mexican"

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Romero-Herrera, Claudia, and Lorena Oliva. "Mexicano Flores." Studies in Musical Theatre 18, no. 3 (2024): 319–30. https://doi.org/10.1386/smt_00176_7.

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Mexicano Flores is a musical about the real-life trial and execution of Miguel Ángel Flores, an undocumented Mexican in Texas, who murders Angela, a US citizen. Both the victim and perpetrator aspired to be singers, but ended up bloodied in a car after a deplorable femicide. The musical also reflects on the 2000 US presidential elections, which coincided with the vote that sealed Miguel’s execution. Influenced by both Brecht and Broadway, Mexicano Flores features a traditional Mexican lullaby and nine original songs by Lorena Oliva and Claudia Romero Herrera, orchestrated in the 1980s and 1990
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French, Lydia A. "Woman Hollering Creek a Través de la Música." Aztlán: A Journal of Chicano Studies 36, no. 1 (2011): 99–127. http://dx.doi.org/10.1525/azt.2011.36.1.99.

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This essay intervenes in contemporary scholarship on Sandra Cisneros’s Woman Hollering Creek (1991) by examining the canciones she uses as epigraphs and their relationship to the multiple nationalisms that Chicana/os actively negotiate. I argue that Cisneros’s decision to include powerfully nationalist Mexican canción traditions directs the reader-listener to the role that mexicanidad plays in the collection’s stories and in Chicana/o nationalism and identity more generally. This examination of the songs reveals Cisneros’s critique of a wholesale adoption of discourses of Mexico that depict me
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Welizarowicz, Grzegorz. "Feel Like a Gringo: Transnational Consciousness in Los Angeles Punk Rock Songs." Polish Journal for American Studies, no. 12 (Spring 2018) (April 30, 2022): 55–73. http://dx.doi.org/10.7311/pjas.12/1/2018.05.

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The essay analyzes four songs from the catalogue of the Los Angeles punk rock scene of the late 1970s and early 1980s. It is argued that the songs, written in response to the reality of the life in Los Angeles and in the Mexican-American borderlands, are expressive of transnational consciousness. Interpreted in this way, the songs are revealed as embodying the processes of distancing and then readjusting of oneself in relation to the dominant narrative of the US Nation and hence embody the idea of cosmopolitanization. The first two songs are by Chicano artists and express transnational anxieti
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Stallings, Stephanie N. "Aesthetic Wit(h)nessing in Anti-lynching Songs by Silvestre Revueltas and Carlos Chávez." Journal of the American Musicological Society 76, no. 2 (2023): 463–501. http://dx.doi.org/10.1525/jams.2023.76.2.463.

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Abstract Mexican composers Silvestre Revueltas and Carlos Chávez each wrote one song that execrates the lynching-murder of Black persons in the United States. In them, the composers pit a Mexican aesthetics of death against violent spectacle and social inequities to assert a universal dignity of life and to situate an antiracist position within the context of a broader international class struggle. In the process of airing fresh interpretations of the songs, I imply that the composers’ divergent experiences in the United States—Chávez’s relative proximity to establishment structures of power a
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MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continu
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Garcia, Peter J. "The New Mexican Early Ballad Tradition: Reconsidering the New Mexican Folklorists' Contribution to Songs of Intercultural Conflict." Latin American Music Review / Revista de Música Latinoamericana 17, no. 2 (1996): 150. http://dx.doi.org/10.2307/780348.

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Santiago-Ruiz, Eduardo. "History of poetry in Mexican textbooks." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 39 (January 28, 2024): 7–36. http://dx.doi.org/10.17398/1988-8430.39.7.

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This article aims to analyze the evolution of the use of poetry in Mexican primary level textbooks. The analyzed corpus consisted of the books with the most significant changes, those from 1962, 1972, and 2008, for a total of 35 books. The main results indicate that the role of poetry in textbooks has changed considerably in response to different educational, cultural, and political conceptions. The 1962 books mainly feature acclaimed Romantic and Modernist writers and have a strong interest in promoting patriotic and moral values. The 1972 books lean towards Mexican folk lyricism and have a m
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Rodriguez, Iliana Yamileth. "Listening to el Southside: Kap G’s Southern Mexicanidad." Labor 16, no. 3 (2019): 95–101. http://dx.doi.org/10.1215/15476715-7569878.

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As part of the New Directions of the Latina/o South forum, this essay centers southern Latina/o cultural productions to examine practices of representation through Kap G’s rap texts. As the first popular Mexican American rapper from Atlanta, Georgia, Kap G lyrically and visually works to represent a southern Mexicanidad through his songs, music videos, and interviews. His work illustrates a second-generation identification with migrant struggles around issues of (im)migration, (il)legality, and labor.
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Cannings, Richard J. "Songs of Two Mexican Populations of the Western Flycatcher Empidonax difficilis Complex." Condor 94, no. 3 (1992): 785–87. http://dx.doi.org/10.2307/1369267.

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KIRSCHEL, ALEXANDER N. G., DENT A. EARL, YUAN YAO, et al. "USING SONGS TO IDENTIFY INDIVIDUAL MEXICAN ANTTHRUSHFORMICARIUS MONILIGER:COMPARISON OF FOUR CLASSIFICATION METHODS." Bioacoustics 19, no. 1-2 (2009): 1–20. http://dx.doi.org/10.1080/09524622.2009.9753612.

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Dissertations / Theses on the topic "Songs, mexican"

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De, la Peza Maria del Carmen. "Songs, memories and identities : the bolero and sentimental education in contemporary Mexico." Thesis, Loughborough University, 1997. https://dspace.lboro.ac.uk/2134/9626.

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The confluence of singers, composers and audiences within contemporary Mexican culture, produces a "bolero effect" in which the bolero tradition of the popular love song is established as a complex network of relationships between actors and spaces. The relationships between public discourses about romance, courtship and self identities, is produced and secured by the deployment of a variety of codes and languages that together constitute love as a shared memory. Collective and personal memory are strongly related. The process of interpreting and responding to the bolero is rooted· not only in
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Canchola, Amy. ""Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505196/.

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María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's
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Hernandez, Alexandra Marcela. "Female house finch (Carpodacus mexicanus) song preferences." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ58873.pdf.

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Alexander, Ryan M. "Fortunate sons of the Mexican Revolution: Miguel Aleman and his generation, 1920--1952." THE UNIVERSITY OF ARIZONA, 2012. http://pqdtopen.proquest.com/#viewpdf?dispub=3490913.

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Alexander, Ryan M. "FORTUNATE SONS OF THE MEXICAN REVOLUTION: MIGUEL ALEMÁN AND HIS GENERATION, 1920-1952." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/216972.

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Miguel Alemán, who in 1946 became the first civilian president to represent Mexico's official revolutionary party, ushered into national office a new generation of university-educated professional politicians. Nicknamed the "cachorros (puppies) of the revolution," these leaders were dismissed as slick college boys by their opponents. Despite this objection, the rise to power of this new cadre represented a major turning point in the nation's political history. The prior ruling generation, composed of military officers who had faced calamitous violence during the Revolution, had carried out a d
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Ramos, Sefferino. "Silence, Power, and Mexicans in Willa Cather's The Song of the Lark." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/280.

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In The Song of the Lark (1915), Willa Cather does something extraordinary by presenting a well-rounded and likeable Mexican character. This is quite different from her contemporaries’ stereotypical depictions of minorities. To include immigrants in a modern novel was avant-garde and radical subject matter; and presenting a realistic, likeable Mexican character was unheard of because the colonized and immigrants were largely ignored in American literature, or deliberately overlooked. When they were included, persistent demeaning views and unflattering Mexican stereotypes were the norm. This pap
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Ganster, Katherine Olivia. "HOUSE FINCHES, CARPODACUS MEXICANUS: HORMONES, STRESS, AND SONG CONTROL REGIONS." DigitalCommons@CalPoly, 2012. https://digitalcommons.calpoly.edu/theses/905.

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Song production in songbirds is controlled by parts of the brain known as the song control regions (SCRs). During spring, gonads increase in size, males sing to attract mates, and SCRs become larger. This neuroplasticity is controlled by the change in day length and increased plasma testosterone (T) levels. Plasma T can be reduced by stress through the production of corticosterone (CORT), through the production of beta-endorphin, or through direct effects on the testes via the nervous system. We determined the T, estradiol, and CORT hormonal profiles of wild House Finches by capturing and samp
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Hernandez, Guillermo Alexandro III. "PART I: TWO PIECES FOR ORCHESTRA: LOS NIÑOS HEROES AND EL PORFIRIATOPART II: TWO COMPOSERS, BLAS GALINDO AND JOSE PABLO MONCAYO: AN ANALYSIS OF TWO WORKS WRITTEN DURING THE HEIGHT OF MEXICAN NATIONALISM." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429230806.

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Hamzaoui, Ikbal. "Le son jarocho, un genre musical métis de Veracruz." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040190.

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Ce travail porte sur le son jarocho, un genre musical métis de Veracruz au Mexique et ses éventuelles similitudes avec un genre musical de Tunisie, le stambeli. L’idée en est venue à la suite de situations d’écoutes spontanées du son jarocho présentant un air de ressemblance avec le stambeli. Ces écoutes se sont reproduites à plusieurs reprises et dans différents lieux et contextes avec des amis ou des étudiants en Tunisie. J’ai effectué cinq séjours de terrain, entre 2010 et 2013, dans l’État de Veracruz, entre les villes de Veracruz, Jalapa et la région des Tuxtlas au sud de l’État de Veracr
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Azcona, Stevan César 1972. "Movements in Chicano music : performing culture, performing politics, 1965-1979." 2008. http://hdl.handle.net/2152/17735.

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More than a confined account of the musical activity of the Chicano Movement, my research considers Chicana/o music of the period as a critical part of the protest music genres of Latin America (eg. Nueva canción, canto nuevo) and the Unites States (eg. labor/union and civil rights songs). Consequently, although situated squarely within the context of the Chicano Movement, this project necessarily examines the musical yet political links between Chicano musicians and their counterparts in the American labor movement, Civil Rights Movement, and Latin American social movements of the period. Cou
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Books on the topic "Songs, mexican"

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Montemayor, Cecilia. El lied mexicano: Catálogo de música para voz y piano = The Mexican lied : a catalogue of music for voice and piano. Universidad Autónoma de Nuevo León, 2009.

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Ponce, Manuel M. Estrellita =: (Little star) : a Mexican serenade. International Opus, 1995.

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1975-, Granados Pável, and Águila Paz, eds. Canciones. Oceano, 2008.

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Stevenson, Robert Murrell. South American national anthems and other area studies: Mexico after the Mexican anthem. Pacific Press, 2009.

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Tristan, Arturo Castillo. Diálogos decimales en la huasteca. Gobierno del Estado de Tamaulipas, 2012.

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1966-, Hidalgo Belli Patricio, ed. El canto de la memoria: Cincuenta años de versada en el sur de Veracruz. Universidad Veracruzana, 2004.

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Herrera-Sobek, María. Northward bound: The Mexican immigrant experience in ballad and song. Indiana University Press, 1993.

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Patricia del Carmen Florencia Pulido. Crónica histórica del huapango huasteco veracruzano: Trovas, musica, danza y tradiciones. Gobierno del Estado de Veracruz, Secretaría de Educación y Cultura, 1991.

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Lara, Agustín. Agustín Lara: Cien años, cien canciones. Océano, 2002.

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officer, American. The rough and ready songster. Nafis & Cornish, 1988.

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Book chapters on the topic "Songs, mexican"

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Barroso, Javier. "Javier Sicilia: Public Mourning for the Sons of Mexico." In Mexican Public Intellectuals. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137392299_11.

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Grace, Nancy M. "Songs and Prayers: Mexico City Blues and Other Poems." In Jack Kerouac and the Literary Imagination. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-349-73466-5_7.

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López Sánchez, Oliva, and Edith Flores Pérez. "Popular Songs of Antonio Vanegas Arroyo: Emotionology of Love in Mexico 1880–1911." In Affect, Gender and Sexuality in Latin America. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-59369-8_12.

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Palomares-Salas, Claudio. "1968." In Mexican Canto Nuevo. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197772737.003.0004.

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Abstract Chapter 4 marks Canto Nuevo’s birth during the 1968 student movement. It explores the emergence of a repertoire of national militant songs focused on the Mexican context but in tune with the Latin American Militant Song movement. Following Jorge Velasco’s previous studies, the chapter explores three ways in which singers, singer-songwriters, and groups used songs during the student movement: first, by collecting popular militant songs; second, by resignifying these songs using the contrafacta; and third, by creating an original militant song repertoire. At this moment, the first Canto
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Ulloa, Juanita. "Songs, Diction, Lyrics, IPA, and Translations." In The Mariachi Voice. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190846244.003.0006.

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Abstract Mexican Spanish is immediately identifiable to Spanish speakers all over the world. Mexico has many regional variants within its thirty-two states as well. Why study Mexican Spanish lyric diction? All, including advanced singers, train constantly to develop a discerning ear for varying pronunciation depending on the region. The northern Mexico corrido will have a slightly different pronunciation, brighter intonation, and resonance than a bolero or huapango, for example. The system of International Phonetic Alphabet (IPA) is introduced with lesson plans and practice sheets using mariac
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"NOTES TO THE SONGS." In A Texas-Mexican Cancionero. University of Texas Press, 1995. https://doi.org/10.7560/765580-010.

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Palomares-Salas, Claudio. "Mexican Canto Nuevo’s Calls and Responses." In Mexican Canto Nuevo. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197772737.003.0003.

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Abstract Chapter 3 investigates the origins of Mexican Canto Nuevo and its ties to a soundscape that included rock ’n’ roll, folklorized music, and militant songs. It examines the 1950s–1960s folklorized/politicized response to rock ’n’ roll, led by progressive, middle-class artists such as Salvador Ojeda and the influential group Los Folkloristas. It then explores how Canto Nuevo emerged in the late 1960s and early 1970s, influenced by—and in constant dialogue with—the Argentinean Nuevo Cancionero, Chilean Nueva Canción, and Cuban Nueva Trova, as well as the Spanish Militant Song and US Prote
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Paredes, Américo. "The United States, Mexico, and Machismo." In The Border Reader. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027195-007.

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This chapter explores the macho as “the superman of the multitude,” a “national type” by which Mexico, as a nation, is often classified. Through this decidedly folklorist definition, Américo Paredes makes machismo out to be an aspiration handed down from generation to generation of Mexicans in the laments of songs, as a stereotypical yet identifying characteristic of men in Mexican folklore. Paredes debates its source.
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"PART IV Romantic and Comic Songs." In A Texas-Mexican Cancionero. University of Texas Press, 1995. https://doi.org/10.7560/765580-007.

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"PART III Songs for Special Occasions." In A Texas-Mexican Cancionero. University of Texas Press, 1995. https://doi.org/10.7560/765580-006.

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Conference papers on the topic "Songs, mexican"

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Song, Ruxin, and Paul Stanton. "Advances in Deepwater Steel Catenary Riser Technology State-of-the-Art: Part II—Analysis." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79405.

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The Steel Catenary Riser (SCR) concept offers advantages over other riser concepts and has been widely deployed worldwide. The first deepwater SCR was installed in the Gulf of Mexico in 1994. Since then, more than 100 SCRs have been installed for many types of deepwater floaters (Spars, TLPs, SEMIs, and FPSOs) in the deepwater fields of West of Africa, the Gulf of Mexico (GoM), and Offshore Brazil. As the second of two companion papers, this paper presents the state-of-the-art of key analysis techniques of deepwater SCRs while the first paper addresses the design methodology [R. Song, P. Stant
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Rodríguez González, Sylvia Cristina. "Megadesarrollos turísticos de sol y playa enclaves del imaginario." In International Conference Virtual City and Territory. Centre de Política de Sòl i Valoracions, 2009. http://dx.doi.org/10.5821/ctv.7522.

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Los megadesarrollos turísticos de sol y playa han sido impulsados por el Banco Interamericano de Desarrollo (BID) como proyectos de estrategia de desarrollo turístico, en México nacen los Centros
 Integralmente Planeados (CIP´s) para dar orden urbano, descentralizando grandes inversiones turísticas principalmente de origen extranjeros. Son identificados ante la promoción turística por la inversión de
 insumos y tecnología. Los emplazamientos turísticos de sol y playa han crecido y destinan espacios para el hospedaje turístico temporal y permanente. Este tipo de emplazamientos destaca
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Reports on the topic "Songs, mexican"

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Feller-Simmons, Paul G., and Cesar D. Favila. The Virgin Mary's Essence in New Spanish Song. Society for Seventeenth-Century Music, 2025. https://doi.org/10.53610/bdlm1317.

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This edition features thirteen villancicos transcribed from the Sánchez Garza Collection held in Mexico City’s Centro Nacional de Investigación, Documentación e Información Musical Carlos Chávez (CENIDIM). Their publication provides ensembles music for performance that was originally notated for and performed by women, in this case the nuns of Puebla’s Santísima Trinidad convent. This convent was founded in the seventeenth century in colonial Mexico (New Spain) and left behind the largest collection of women’s notated music from New Spain. The novel organization of this edition, featuring vill
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Berlanga, Cecilia, Emma Näslund-Hadley, Enrique Fernández García, and Juan Manuel Hernández Agramonte. Hybrid parental training to foster play-based early childhood development: experimental evidence from Mexico. Inter-American Development Bank, 2023. http://dx.doi.org/10.18235/0004879.

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Play during early childhood is key to stimulating childrens physical, social, emotional and cognitive development; it promotes their imagination and creativity, improves their problem-solving skills and enhances their learning readiness by providing the foundations to build skills later in their lives. Parental engagement in play-based learning at home is one of the behaviors most consistently associated with positive child development. However, it is concerning that levels of parental engagement in play activities have been found to be lower in low-resourced settings. Additionally, research o
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